A decree was issued on July 29, 1957 licensing gaming exclusively to Casino du Liban. Accordingly the Maameltein area was chosen, more specifically a rocky hill overlooking the Mediterranean Sea that was inaccessible by car. Therefore Casino du Liban was obliged to purchase adjacent lands to open a special road leading to the hill from the seaside. It was also essential to make of this rocky hill a green area; the company had thus recourse to a French specialist to plant saplings and seedlings between the rocks, which were perforated at one and a half meter depth for water drainage. The land was beautifully turned into a conifer forest commensurate with the nature of the region. And the Casino was conceived…
The Lebanese law (inspired from French constitution) defined its location: away from the urban areas of Beirut, Tripoli and Saida (minimum distance: 15 kilometers), a beautiful edifice nestled in the Lebanese coast reflecting the elegant art magnitudes amid 100% natural, untouched beauty. The small hill soon turned into a colossal building intriguing passers who randomly guessed the project identity. No one knew that this hill was about to attract millions of visitors and tourists.
History was made for those who witnessed the long awaited night of December 17, 1959: fireworks illuminated the sky of Maameltein as the most beautiful bay of the Mediterranean coast marked the glowing upcoming New Year.
The next day, media coverage was massive: all newspapers announced the inauguration using superlatives such as “the biggest of tourist establishments in the Middle East” “the home to chic entertainment lovers” and “A glowing Diamond Hill”.
Planners endeavored to make the Casino a tourist complex including reception halls, restaurants, a hall of ambassadors for big shows “Salle des Ambassadeurs” – which was considered one of the most opulent and graceful spectacle halls in the world. The biggest hall was then Teatro Lebanon with 1,350-spectator capacity, equipped with advanced technology to accommodate major productions. According to the director of Bolshoi Theater in Moscow, Teatro Lebanon could be compared to Opera Theatre of Paris. The greatest spectacle companies in both Europe and the US presented their impressive shows at the “Salle des Ambassadeurs”; subsequently, shows were performed on an going basis throughout the year.
In 1964, Casino du Liban decided to renovate the “Salle des Ambassadeurs” by introducing the latest technologies, increasing its capacity to 850 spectators and adding extra changing rooms to accommodate two hundred artists and musicians. In addition to fixing about 600 spotlights, eighty six movable electro-mechanical stages were also built, helping change the decor and scenes within a few seconds. These enhancements enabled Lebanese, Arab and foreign tourists to witness breathtaking productions such as “S’il vous plaît” and “La Parisienne”.
This is the story of a fairy tale called Casino du Liban that started in 1959 and goes on till date, bringing together the magic and authenticity of the East and the culture of the West, in a mythical marriage of magnificence and beauty, attracting thousands of tourists from the extreme far reaches of the Earth.
Political, Economic & Development Role
Between the sixties and seventies, Casino du Liban played a remarkable development, economic and political role as local, regional and international VIPs rushed to it. The Casino gained considerable influence and imposed itself on the financial scene becoming a cornerstone in the Lebanese economy.
Many prominent world personalities visited the Casino among whom the late King Hussein of Jordan, the Shah of Iran Mohammad Reza Pahlavi, Prince Albert of Monaco Omar Sharif and many others.
Financially, the State-distributed Casino revenues contributed in promoting tourism; 25 percent had been allocated to hotel investors specifically to improve and upgrade hotels outside the Beirut city, in addition to 25 percent allocated to constructions that encourage and develop the tourism industry and the summer season.
In this context, the Mir Amin Palace and Jeita Grotto were rehabilitated by the revenues of Casino du Liban, a restaurant was also established in Tripoli citadel, in addition to the opening of dozens of tourism offices in London, Paris and Rome thanks to the Casino money. All along this period, Casino du Liban was operating, distributing part of the revenues to the State and part to the company. It is said that between 1962 and 1974 the Casino revenues amounted to 290 million Lebanese pounds, which represents a very high sum with regard to that period. The revenue distribution plan included the allocation of 20 percent to small municipalities to assist them in their construction and development projects, and 20 percent were determined by the Ministry of Social Affairs to support charities, in addition to 10 percent to cover the State control expenditures.
This is the tip of the iceberg of the economic and political influence regarding Casino du Liban, reflecting a situation that summarizes the time of affluence and prosperity witnessed in Lebanon in the sixties and the first half of the seventies.
Golden Memories
Since its inception, the casino attracted nothing but the crème of the crop. It was frequented by Arabs and foreign businessmen alike, especially before 1967-as Lebanon was the gate to the Arab world-; whether for business or leisure, the casino was a pit stop to unwind, relax & tantalize the senses. Furthermore, the Lebanese Diaspora was an essential part of the Casino’s clientele, passionately dedicated to its culture of grandiose events and spectacles; and finally the Lebanese residing in Lebanon whose love and admiration for the casino made it their preferred destination for weddings, big events and other happy happenings. The golden era had just begun…
The Management of Casino du Liban managed to “snatch” the Miss Europe election and its organization in Lebanon for six consecutive years (from 1960 to 1965); it was a world premiere to host the Miss Europe outside Europe, an event that carried a lot of local, regional & international media attention. In fact, the ingenious couple was able to persuade the head of the pageant’s committee of the importance of organizing this contest in Lebanon, based on the dreamy Greek mythology. In fact, Goddess Europa (daughter of Tyre) fell madly in love with Greek immortal Zeus, eloping to Greece where all the territories were baptized to become: EUROPA.
The analysis was pretty convincing and consequently, 30 European women from 30 countries were accompanied at least by 10 journalists mounting up to 300 journalists, daily feeding their respective newspapers with Casino news. This helped create a wider awareness of Lebanon on the world tourism map. On the other hand, members of the jury included journalists, actors and writers from which the famous novelist Jean Prousse, that was inspired by the casino in one of his plots.
The Casino hosted for 5 consecutive years the Miss Europe Ceremonies generating more thousands of articles on Lebanon. Armed with the necessary experience, Casino du Liban organized in 1971 the Miss Lebanon ceremonies during which Georgina Rizk was elected to become Miss Universe a few months later.
And from beauty pageants onwards, the Casino started with exceptional entertainment shows: in 1961 director Charlie Henchis became patron of the Casino’s biggest spectacles, all held at the “Salle des Ambassadeurs” as it was the only flexible space, able to transform with every new show.
The Lebanese were marked by the huge spectacle MAIS OUI played for 1158 times during three years and three months in front of 562 788 spectators, making it the play of the century.
Charlie Henchis’ art intrigued international journalists from Egypt to France all the way to the United States of America. For instance, renowned Egyptian AHRAM newspaper showcased on its front page, beautiful photos of CDL’s “Salle des Ambassadeurs” which inspired the Egyptian government to execute the same interiors in Egyptian Casinos to attract tourists. American TIMES described Henchis as the predecessor of Flo Zigfield & Billy Russ. Furthermore, American Variety journal designated CDL as the number one entertainment provider of the world’s best shows.
The phenomenal spectacle MAIS OUI paved the way to even bigger challenges such as HELLO. Can the director Henchis surpass himself in the new production? A winning staff was put together to make it happen again: choreographers, designers, scenarists and professional technicians. 827 costumes were especially designed for 110 dancers, who needed more than 30 assistant, helping them getting dressed backstage. Ninety eight technicians were onboard, and circus animals were especially brought in from which two elephants, two monkeys, one tiger and 25 horses. The show was divided into 12 acts “a trip into the land of wonders”. The sound & lighting effects are still engraved in the memory of spectators up until today!
The media’s positive feedback encouraged all travelers in the region to stop by Lebanon and be part of this frenzy of international spectacles like the Henchis shows or the Austrian musical Symphony.
For instance, it is told that “the Constellation”- the notorious A+boat- had especially shifted courses just to watch the phenomenal spectacles. With almost 300 passengers onboard -from which Hugh O’Brien, John Fontaine, Gloria Swanson, Z. Scott, & John Russell and Bella Monti among many others- “the Constellation’s” captain originally asked for a million dollars to change courses, after the boat had reached Turkish shores. It is only through the persistence of his fellow American friends that the captain accepted to stay for a 10 day trip to Lebanon. The passengers were able to enjoy Lebanon’s A class tourism and merrily watched “S’il vous plait”. The boat then went to Akaba in Jordan, with no passengers aboard!
The visits of billionaire Aristotle Onassis to Casino Du Liban weren’t any less: his frequent 48 hour trips turned the Casino into a destination of scale, doubling its exposure & fame.
Moreover, famous Berkley records launched a book to celebrate Charles Aznavour’s 25 years of performance, mentioning his international concerts held at Paris’ Olympia, New York’s Carnegie Hall, and Lebanese Casino Du Liban.
Thanks to the prominence of the “Salle des Ambassadeurs”, the New York international committee of entertainment 1965, asked its governor Bolity for a remake of one of the shows of the Salle in New York itself. “Mais Oui!” consequently traveled from Jounieh all the way to Hudson Manhattan bringing together more than 2 million theater aficionados.
An endless list of international stars performed at the “Salle des Ambassadeurs” namley 3 of Egypt’s divine dancers, Tahia Carioka, Najwa Fouad and Samia Jamal. In addition to Duke Allington, Dalida Gilbet Becau, Jacques Brel, Charles Trenet, Sasha Distel, Juliette Greco, Dany Thomas, Adamon, Johnny Haliday & Julio Iglesias. Not to forget Fareed el Atrach, the Rahbani brothers and the adored Feyrouz.
Casino du Liban had acquired by that time a sentimental value that drastically grew in the hearts and minds of the Lebanese. They warmly carried happy souvenirs, which had become signatures of a golden era making all Lebanese proud to belong to that country that caters taste, refinement & culture to the world.
Baptized the “Diamond Hill”, the glamorous Jounieh bay attracted fun lovers, late bloomers as the war stroke once more in 1975. Casino du Liban was compelled to shut down its doors, several times till 1989. What was astonishing is that even during times of crisis, the establishment was still functional yielding high returns even in times of war, although the returns weren’t casino exclusive. Effectively, the 1977 statistics registered more than 161 000 casino entries, and show around 31.5 M LL spent. The statistics show the absence of high rollers and foreign gamblers.
From 1971 till 1983, the Casino struggled to preserve its entity during times of political and economical unrests; sparing no one, the war had catastrophic consequences at all levels. But this did not keep the casino from buying ¼ quarter of Madrid’s casino, a share that helped the board pay all the pending salaries.
The entertainment was sustained: Orchestra Johan Straus celebrated its 25th anniversary, Petra, al Mou2amara al Moustamerra by Rahbani, Saif 840, Mou7akamat Yassou3, Sane3 al Ahlam by Raymond Gebara, and Amrak Sayyedna by Antoine Kerbaje.
In 1989, the destruction was massive again; but 1990 brought a wind of change as the Taef accord had put an end to all violence. Gradually, the situation started lightening up: the casino was able to reopen all refurbished and all new!
The casino spent US 50 million to refurbish what was destructed and re-position it to fit the golden image it had bravely acquired: uninterrupted civil works were to put the casino back on track; the challenging project was undertaken by Lebanese contractor Al Mabani. Two teams worked night & day to finish all reconstructive works by 96, i.e. just one year. The project was divided into two phases according to the initial planning: the first phase included 7 locations all relative to the original casino building that was completely rehabilitated: the management quarters, a new parking lot with 4 underground level to fit 650 cars, a building for electromechanical services (including power generators & huge AC units), the main water reservoir, the pump and finally public entrances and yards. The 2nd phase of the project was inclusive of the “Salle des Ambassadeurs” and the main Theatre.
The bet was won: late bloomers were able to enjoy themselves again as Crystal champagne was flawing unstoppably, delicately served on silver platters by staff beautifully garnished in white gloves. Red carpet, tux & gowns, roses, caviar and martinis, were all promptly for the rendezvous of the casino’s re-inauguration by Lebanese president Elias el Hraoui, on December 4th, 1996.
